{"id":12837,"date":"2022-09-08T12:36:32","date_gmt":"2022-09-08T11:36:32","guid":{"rendered":"https:\/\/everpress.com\/blog\/?p=12837"},"modified":"2022-10-11T09:20:48","modified_gmt":"2022-10-11T08:20:48","slug":"censorship-a-collection-curated-by-typosters-x-abc-dinamo","status":"publish","type":"post","link":"https:\/\/everpress.com\/blog\/censorship-a-collection-curated-by-typosters-x-abc-dinamo\/","title":{"rendered":"Censorship: A Collection Curated By Typosters x Dinamo"},"content":{"rendered":"

TYPOSTERS<\/h3>\n

Typosters, both the Instagram account and the website, has bloomed into a very influential resource. Can you talk a little about why you started the project? And when you first started out, what did you imagine for it?<\/b><\/p>\n

Typoster\u2019s initial goal back in 2018 was to become a digital archive of posters. Both of us, but especially Stelios, are very passionate about typography, so the main goal back then was to find and share interesting typographic posters and create an Instagram profile where all of them could be collected. The second main goal when Typosters was created, was to have it act as a platform where designers who are interested in typography can interact.\u00a0<\/span><\/p>\n

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Courtesy of ABC Dinamo<\/figcaption><\/figure>\n

Right now what is important to us when it comes to Typosers is that it should always present quality design to its community. It is still essential that it acts as a platform where artists and designers can interact, but also come to in order to get inspiration.\u00a0\u00a0<\/span><\/p>\n

Why do you think it\u2019s important to create digital archives like this, of a medium (posters) that can often be ephemeral or transient?<\/b><\/p>\n

After reading Anthony Burrill\u2019s book <\/span>Make it Now!<\/span><\/i>, we realised how important it is to take inspiration from objects with a short life span. Since then we have also been interested in collecting and archiving such objects so that we can come back to them to get inspired. We have embraced that concept with Typosters by digitally archiving posters, which if not saved will be lost forever.<\/span><\/p>\n

It is like creating a time capsule<\/span><\/p><\/blockquote>\n

Documenting and archiving is essential in order for us to remember and get inspired, but it also becomes a sort of library that everyone can explore and learn what was current at the \u2018scene\u2019 during our time. <\/span>It is like creating a time capsule.<\/span><\/p>\n

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Courtesy of Typosters<\/figcaption><\/figure>\n

Part of the success of Typosters has been the scope of the work you feature. There are aesthetic themes that repeat across some of the pieces, but it\u2019s never homogenous or samey as a whole. How do you approach curating the account? And relatedly, how do you find new designers and work to feature?<\/b><\/p>\n

We try to hand pick and share posters that we think are interesting, unique or unexpected. We also try to pick posters that people are not so likely to stumble upon. That is also why it really does not matter for us how many followers and likes a designer has on Instagram. One thing that is important to us, though, is that we share posters that were designed for a real event or situation.<\/span><\/p>\n

It can be quite boring showing the same aesthetics repeatedly and we try to represent graphic design in its totality; to cover the whole spectrum of techniques and styles, from comp<\/span>letely hand drawn typographic layouts to 3D typographic renders. We mainly find new designers and studios through social media and articles. Other times, we track down designers who designed a particular poster we saw in the streets and liked it. We especially love discovering new designers during our trips abroad, it can be very exciting.<\/span><\/p>\n

How much of that ethos did you bring to curating the lineup for this collection? And how did the final lineup emerge; did you have existing relationships with every artist?\u00a0<\/b><\/p>\n

Again, diversity was very important to us so we wanted to have a diverse lineup for this collection, especially since the theme is Censorship. It was important to underline that no matter what each artist’s background is, we all condemn being censored.\u00a0<\/span><\/p>\n

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Courtesy of ABC Dinamo<\/figcaption><\/figure>\n

We had existing relationships with some of the artists, but others, we have just admired for such a long time and we have waited for the perfect opportunity to collaborate with.<\/span><\/p>\n

We try to represent graphic design in its totality<\/span><\/p><\/blockquote>\n

For you, what makes a typoster \u2018good\u2019 or \u2018successful\u2019? Are there any golden rules you abide by as designers yourselves?<\/b><\/p>\n

We try not to abide by too many rules as we find they can often be very limiting. If we had to talk about one golden rule would be to stay creative and devoted to the project or task at hand. When a designer’s only focus is to deliver quality – they will deliver quality. It is also important to remember that a typoster needs to communicate its message effectively and quickly. We are big fans of some designers who can communicate complex messages through simple typography.\u00a0<\/span><\/p>\n

What do you think the relationship is between type, design and freedom of expression? How did you arrive at the overarching theme of \u2018censorship\u2019?\u00a0<\/b><\/p>\n

We believe that type and design are paramount when talking about freedom of expression. If someone wants to express their point of view or idea and let the world know about it – even for the simplest thing – they will get a piece of paper and write down their message.\u00a0 They might hold it up during a demonstration, or hang it up in their home. Either way, they used type.\u00a0<\/span><\/p>\n

It is almost a designer’s duty <\/span>to support freedom of expression<\/span><\/p><\/blockquote>\n

It is almost a designer’s duty <\/span>to support freedom of expression by using their knowledge and skills to accentuate a point of view or idea through type and design. That is why the theme ‘censorship’ was chosen; we need to remind people and designers how important it is, and how it is paramount that we all remember that it is a big issue we need to address.<\/span><\/p>\n

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Courtesy of Typosters<\/figcaption><\/figure>\n

You\u2019re raising funds for Index On Censorship. For you, why is this work they do so important?\u00a0<\/b><\/p>\n

Index on Censorship focuses on artistic, digital and media freedom. Nowadays, when designers are typically very involved with social media, all three of these subjects are extremely important to them. Index campaigns against restriction to freedom of speech online, they support artists who challenge the current circumstances and speak out, they monitor illegal projects that restrict journalists’ work and they publish a magazine which features work from censored journalists. We find the work they do crucial and we couldn’t be more excited that we are raising funds for Index on Censorship.\u00a0<\/span><\/p>\n

BROOKE ARMSTRONG<\/h3>\n

How do you balance your creative work alongside everything else it takes to run a successful business as an artist?<\/b><\/p>\n

Routine and boundaries!! Getting yourself into a routine and practising healthy work boundaries is so important. Create a schedule for yourself and stick to it. I\u2019ll usually save my mornings to be creative for myself: I\u2019ll sip my coffee and create whatever I want in a pressure-free environment. It\u2019s my favourite time of the day, it helps jumpstart my creative brain, and is also the time I can get any design urges out of my mind before I start my business work in the afternoon. Artists need time to create for themselves or they\u2019ll wind up burnt out. Plus, running your own business can be a 24\/7 job and it\u2019s really easy to feel like you have to work around the clock. Setting those time frames for yourself is key to making sure you\u2019re allowing your brain to rest and reset. Taking care of yourself comes before any job.<\/span><\/p>\n

Artists need time to create for themselves<\/span><\/p><\/blockquote>\n

Your artist bio explains that you\u2019re interested in creating \u201cengaging and meaningful\u201d designs. What does good design, that\u2019s both engaging and meaningful, look like to you?<\/b><\/p>\n

I think all good design or art should make you feel something. Maybe it\u2019s calm because the colours are pleasing to look at, energetic<\/span> because it\u2019s got an inspiring message, melancholy<\/span> because the composition is empty, content because it\u2019s communicating something clearly. Or it\u2019s something you\u2019re able to relate heavily to and that in itself is engaging. The more senses we engage, the more strongly we are tied to a moment. A lot of my work revolves around my own moments and feelings, so those emotions, which others can relate to, are present. When you\u2019re able to create work that the viewer sees or feels a part of themselves in, I believe that makes for meaningful, good design.<\/span><\/p>\n

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A post shared by brooke armstrong (@strong_design_co)<\/a><\/p>\n<\/div>\n<\/blockquote>\n